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International Olympic Committee President Thomas Bach attends the public launch of The Recommendations Programme with athletes at the Olympic Museum in Lausanne, Switzerland. After a group photograph with the athletes President Bach attends a roundtable discussion.
Susana Feitor : Portugal : Athletics
Photograph by Ian Jones/IOC
The Standard Assessment of Mitigation Potential and Livelihoods in Smallholder Systems (SAMPLES) Program aims to identify pro-poor mitigation options in smallholder farming systems, focusing on opportunities to both benefit farmers’ food security and contribute to climate change mitigation.
This photo was taken at the SAMPLES Annual Workshop June 25-28th, 2013 in Nyando District, western Kenya. Photo by K. Foster (ICRAF).
The Social Cash Transfer Programme has helped beneficiary households to pay for school feed and they can now afford to buy new uniforms for their children.
The main objective of the Social Cash Transfer (SCT) Programme is to reduce extreme poverty and the intergenerational transfer of poverty. The SCT Programme has been operating in Zambia since 2003 and is implemented by the Ministry of Community Development, Mother and Child Health (MCDMCH). Several positive impacts among beneficiary households include reduced poverty, increased food security, improved child wellbeing, improved living conditions and greater productivity and asset ownership.
©FAO/Ivan Grifi
A page from the programme for 'The Yeomen of the Guard'. The page includes an advert for Price's ("the smart tailors") of Low Street, Keighley.
The Keighley Amateur Lyric and Dramatic Society staged a production of W. S. Gilbert and Arthur Sullivan's 'The Yeomen of the Guard (or The Merryman and his Maid)' at the Hippodrome theatre in Keighley from 18th to 23rd October 1909.
The story is set in the sixteenth century and revolves around Colonel Fairfax, a condemned prisoner in the Tower of London, and his attempts to secure a wife before his execution for sorcery. He manages to escape the Tower disguised as a Yeoman and much confusion ensues before all is righted by the end.
It starred Arthur Greenwood as Colonel Fairfax, with E. G. Moulding, James Pearson, Willie Boyes, J. R. Hammond, H. Connelly, John Merrall, C. A. Greenwood, J. Greenwood, B. Hardacre, H. V. Wilkinson, Miranda Sugden, Ethel Bird, Miss Lambert and Mrs Heaton. The musical director was W. S. Wilkinson and the stage manager was W. G. Bedford. Scenery was hired from the Northern Theatres Co. Ltd. and was specially painted by F. G. Venimore.
The Keighley Amateur Lyric and Dramatic Society had only formed a year previous (in 1908) and the theatre had only been renamed the Hippodrome earlier that year (in 1909). Prior to that it was known as the Queen’s Theatre, although both names remained on the front of the building, and many programmes and adverts continued to refer to the ‘Hippodrome and Queen’s Theatre’.
In 1876, Abraham Kershaw, a piano player and tuner from Huddersfield, had bought 700 square yards of land in Queen Street. On it he had built a five-storey wooden theatre, designed by architect J. B. Bailey, that opened at Easter 1880. The theatre was not a financial success and the wooden theatre was pulled down. A new improved theatre, called the Queen’s Theatre was built instead and opened on 26th August 1889. But even this new theatre was deemed inadequate, and in its place was built the new Queen’s Theatre. This was designed by theatre architect Frank Matcham (1854-1920). It covered 7,000 square feet with a frontage of 86 feet to Queen Street and 48 feet to Adelaide Street. There was an iron veranda fitted with coloured glass that ran the whole length of the front. It could seat almost 2,000 people, the stage was 65 feet wide by 45 feet deep, and it boasted that every person in the house had an uninterrupted view of the whole stage. There were six private boxes, bars on all five floors, and ten dressing rooms. The new theatre opened on the 3rd February 1900.
Impresario Francis Laidler (1867-1955) took over the theatre in 1913 – he also ran the Prince’s Theatre and Alhambra Theatre in Bradford, and the Theatre Royal in Leeds. He was managing director up until his death when his widow, Gwladys, took over until the theatre closed in October 1956.
The theatre was demolished in 1961 and in its place now stands the Airedale Shopping Centre multi-storey car park. Keighley Local Studies Library holds various records relating to the theatre including a scrapbook belonging to Abraham Kershaw, a box office notebook, a theatrical postcard album covering 1906 to 1929, autograph books and various photographs, programmes, and posters.
This souvenir programme was a collaboration between photographer H. Charlton of Lawkholme Crescent, and the printers Wadsworth & Co. of The Rydal Press, Russell Street. It measures approximately 255mm by 190mm and is 36 pages long. The programme was donated to the Keighley and District Local History Society by Tim Neal in 2022. A second copy was received by the History Society from an anonymous donor later in 2022. Both copies are held in the History Society's physical archive.
The Civil Society Programme took place from Thursday 14 May through Friday 15 May. The Programme in 2015 introduced a new approach to the flagship event of the EBRD engagement with civil society.
For the first time, CSOs had the chance to shape the Civil Society Programme through a social media consultation. In addition, CSOs were invited to submit proposals for the organisation of discussion panels dedicated to issues of specific interest to the Caucasus region and stakeholders in the EBRD.
A page from the programme for 'The Yeomen of the Guard'. The page includes adverts for Walter Banks (carpets and linos) of Cooke Street, Keighley, and for John Laycock ("fashionable tailor") of Cavendish Street, Keighley.
The Keighley Amateur Lyric and Dramatic Society staged a production of W. S. Gilbert and Arthur Sullivan's 'The Yeomen of the Guard (or The Merryman and his Maid)' at the Hippodrome theatre in Keighley from 18th to 23rd October 1909.
The story is set in the sixteenth century and revolves around Colonel Fairfax, a condemned prisoner in the Tower of London, and his attempts to secure a wife before his execution for sorcery. He manages to escape the Tower disguised as a Yeoman and much confusion ensues before all is righted by the end.
It starred Arthur Greenwood as Colonel Fairfax, with E. G. Moulding, James Pearson, Willie Boyes, J. R. Hammond, H. Connelly, John Merrall, C. A. Greenwood, J. Greenwood, B. Hardacre, H. V. Wilkinson, Miranda Sugden, Ethel Bird, Miss Lambert and Mrs Heaton. The musical director was W. S. Wilkinson and the stage manager was W. G. Bedford. Scenery was hired from the Northern Theatres Co. Ltd. and was specially painted by F. G. Venimore.
The Keighley Amateur Lyric and Dramatic Society had only formed a year previous (in 1908) and the theatre had only been renamed the Hippodrome earlier that year (in 1909). Prior to that it was known as the Queen’s Theatre, although both names remained on the front of the building, and many programmes and adverts continued to refer to the ‘Hippodrome and Queen’s Theatre’.
In 1876, Abraham Kershaw, a piano player and tuner from Huddersfield, had bought 700 square yards of land in Queen Street. On it he had built a five-storey wooden theatre, designed by architect J. B. Bailey, that opened at Easter 1880. The theatre was not a financial success and the wooden theatre was pulled down. A new improved theatre, called the Queen’s Theatre was built instead and opened on 26th August 1889. But even this new theatre was deemed inadequate, and in its place was built the new Queen’s Theatre. This was designed by theatre architect Frank Matcham (1854-1920). It covered 7,000 square feet with a frontage of 86 feet to Queen Street and 48 feet to Adelaide Street. There was an iron veranda fitted with coloured glass that ran the whole length of the front. It could seat almost 2,000 people, the stage was 65 feet wide by 45 feet deep, and it boasted that every person in the house had an uninterrupted view of the whole stage. There were six private boxes, bars on all five floors, and ten dressing rooms. The new theatre opened on the 3rd February 1900.
Impresario Francis Laidler (1867-1955) took over the theatre in 1913 – he also ran the Prince’s Theatre and Alhambra Theatre in Bradford, and the Theatre Royal in Leeds. He was managing director up until his death when his widow, Gwladys, took over until the theatre closed in October 1956.
The theatre was demolished in 1961 and in its place now stands the Airedale Shopping Centre multi-storey car park. Keighley Local Studies Library holds various records relating to the theatre including a scrapbook belonging to Abraham Kershaw, a box office notebook, a theatrical postcard album covering 1906 to 1929, autograph books and various photographs, programmes, and posters.
This souvenir programme was a collaboration between photographer H. Charlton of Lawkholme Crescent, and the printers Wadsworth & Co. of The Rydal Press, Russell Street. It measures approximately 255mm by 190mm and is 36 pages long. The programme was donated to the Keighley and District Local History Society by Tim Neal in 2022. A second copy was received by the History Society from an anonymous donor later in 2022. Both copies are held in the History Society's physical archive.
Bagurumba is a traditional folk dance of the Bodo community in Assam, India, often called the "butterfly dance" for its graceful, nature-inspired movements. Primarily performed by women during the Bwisagu festival, it features vibrant traditional attire and instruments like the sifung (flute) and kham (drum).
Key details about the Bagurumba dance:
Significance: It is a nature-centric dance, often associated with the agricultural cycle, peace, and harmony, typically performed during the Bwisagu (Bihu) festival.
Dance Style: It is characterized by slow, gentle, and rhythmic movements that mimic the fluttering of butterflies and the swaying of nature.
Costume: Women wear traditional Bodo attire known as Dokhona and Aronai.
.Instruments: Accompanied by traditional instruments including the *Kham* (long drum), Sifung (bamboo flute), Jotha (cymbal), Serja (bowed instrument), Gongwna (bamboo instrument), and Tharkha (split bamboo).
Cultural Significance: As a vital part of the Bodo heritage, it is often performed at weddings, festivals, and social gatherings
Ikram Paramanik and his wife, both sharecroppers, in their paddy field in Gaspara village in Pabna of northwestern Bangladesh.
40 young people from East London and 20 UpRisers from Bedford who completed their 9 month programme in June at the Foreign & Commonwealth Office, 4 July 2013, for a graduation ceremony.
www.youtube.com/watch?v=29-1UajnbWo Frankie Laine (March 30, 1913 – February 6, 2007), born Francesco Paolo LoVecchio, was a successful American singer, songwriter, and actor whose career spanned 75 years, from his first concerts in 1930 with a marathon dance company to his final performance of "That's My Desire" in 2005. Often billed as America's Number One Song Stylist, his other nicknames include Mr. Rhythm, Old Leather Lungs, and Mr. Steel Tonsils. His hits included "That's My Desire", "That Lucky Old Sun", "Mule Train", "Cry of the Wild Goose" "Jezebel", "High Noon", "I Believe", "Hey Joe!", "The Kid's Last Fight", "Cool Water", "Moonlight Gambler," "Love Is a Golden Ring," "Rawhide", and "Lord, You Gave Me a Mountain." www.youtube.com/watch?v=5sLwPziSznU
The Standard Assessment of Mitigation Potential and Livelihoods in Smallholder Systems (SAMPLES) Program aims to identify pro-poor mitigation options in smallholder farming systems, focusing on opportunities to both benefit farmers’ food security and contribute to climate change mitigation.
Photo: Training SAMPLES students from Maseno University in the field in Nyando District, western Kenya.
The Civil Society Programme took place on Wednesday 11 May and Thursday 12 May and provided an opportunity for dialogue between civil society and EBRD staff, senior management, the President and Board Directors. It was an occasion for civil society stakeholders to learn more about the Bank and discuss issues of interest and concern regarding the EBRD’s policies and investment projects.
The Programme also featured multi-stakeholder roundtable sessions on key strategic themes related to the role of civil society as an important actor in transition and development processes. Special features of the Civil Society Programme 2016 were discussions on:
•25 years of Transition - The Role of Civil Society in Central and Eastern Europe and Central Asia
•Engaging civil society to promote transparent procurement
•EBRD’s Strategy for the Promotion of Gender Equality (2016-2020): the role of civil society
•Inclusion through skills and innovatiom
In addition, a panel organised by the youth organisation AIESEC looked at the role of youth in shaping the 2030 Agenda for Sustainable Development.
25 years of Transition: The Role of Civil Society in Central and Eastern Europe and Central Asia
A fire-side chat with Sergei Guriev, Professor of Economics, Sciences Po (incoming EBRD Chief Economist)
Civil society, operating in the space between public and private sectors, has played an important role in socio-political and economic transition processes around the world, including the EBRD’s traditional countries of operations. In 25 years since the establishment of the EBRD, civil society’s contribution to transition has varied across the post-communist transition region. In some countries, the work of civil society organisations (CSOs) has contributed to more democratic political systems and more open market based economies as a ‘reputational actor’ performing a ‘watchdog’ function and as a generator of ‘social capital’ necessary to sustain the change process through the difficult early years. In other countries, the focus of CSOs has been on providing a variety of social services particularly to disadvantaged and vulnerable people negatively affected by the transition process. Many civil society actors have been operating in restrictive regulatory environments, and have relied heavily on international donor funding.
What has been civil society’s input into promoting good governance, sustainable development and economic inclusion in EBRD’s traditional region over the past few decades? What are the key lessons learned, from both its successes and failures that can be applied to other countries embarking on a transition process? What steps could be taken to increase the role of civil society in promoting positive changes in societies and economies?
The discussion looked back at the key achievements and setbacks of the civil society sector in contributing to transition since the Bank’s establishment. It also reflected upon the challenges ahead for civil society in building well-governed, sustainable and inclusive economies and societies.
40 young people from East London and 20 UpRisers from Bedford who completed their 9 month programme in June at the Foreign & Commonwealth Office, 4 July 2013, for a graduation ceremony.